Royal Ceremonies at Kyŏngbok Palace During the Reign of King Yŏngjo and Their Representations in Court Ceremony Paintings; [영조대 경복궁 터에서 행한 행사와궁중회화]

초록

This study analyzes three court ceremony paintings to reconstruct the perceptions of King Yŏngjo and the participants in ceremonies held at Kyŏngbok Palace, during his reign. King Yŏngjo repurposed Kyŏngbok Palace, which had been left in ruins after the Japanese Invasion of 1592, as a venue for these court ceremonies. Kŭnjŏngjŏn Chŏngsido 勤政殿庭試圖 commemorates the first court ceremony held at Kyŏngbok Palace in 1746, a royal state examination personally attended by King Yŏngjo. It is believed to have been produced by royal command as part of a commemorative screen marking the occasion. Kyŏngjung Haengsado 宮中行事圖 is the only remaining panel from a multi-panel folding screen. It is presumed to be part of a ceremonial painting depicting the reception ceremony held in 1763 to commemorate King Yŏngjo's 70th birthday at Kŭnjŏngjŏn Hall. This painting was created by those who participated in the ceremony. The final painting, Yongmyojo Kukwŏlchinjakto 英廟朝久闕進爵圖 in the Ŭiryŏng Nam Family Commemorative Album, offers a personal perspective from the scholar-officials who participated in the 1767 royal ceremony at Kyŏngbok palace. These three paintings depict ceremonies held at the site of the former Kyŏngbok Palace, each reflecting different perspectives: that of the king, the participating officials, and the family of a participant. King Yŏngjo used Kyŏngbok Palace, as a symbolic space that carried on the legitimacy of the early Chosŏn Dynasty. While the first painting specifically emphasized the significance of the location by excluding participants to represent Yŏngjo's stance, the second painting balanced both the event scene and the background from the perspective of the participating officials. The third painting, though it focused solely on the event rather than the Kyŏngbok Palace background, included additional illustrations in the album depicting episodes of Chosŏn's founding king, T'aejo, and the ancestors of this family. Whereas Yŏngjo emphasized the connection to the early Chosŏn Dynasty through ceremonies held at Kyŏngbok Palace, this album corresponded to that intention by illustrating how a single family produced officials who served both T'aejo and Yŏngjo closely. © 2024 Art History Association of Korea. All rights reserved.